''I have never ceased, for years, to return to these landscapes which are also my stay. I fear that I will end up being reproached, if it is not already done, seeking there an asylum from the world and from pain, and that men and their sorrows (more visible and more tenacious than their joy) do not count for much in my eyes." "But these elements, whether I liked it or not, intervened, more or less far from consciousness, in what was forming in me around this word: "paradise."

Philippe Jaccottet, in Landscapes with absent figures, poetry/Gallimard

I am interested in the notion of landscape as a place of memories and History. Painting has structured our relationship with the landscape for several centuries and the landscape keeps in itself the memory of the earth's movement and that of human beings. It is this link that I attempt to trace. The ruins, the past and present utopias and the uncertainty of the future, place us in a kind of reading disorder and vulnerability. The great gap between the remains of the city of Carthage, the Roman villas  and  the  district  under  construction  of  Bhar Lazreg  where  my studio  was  located  with  the  buildings permitting the  metal  rods  of reinforced  concrete  emerge  in  view  of  future  construction  higher,  in my opinion, illustrates the  idea  of  a  moment  in  suspense,  an  "inbetween" that I try in vain to put in shape.

Indeed,  I  only  have  a  rather  open  idea  of  what  the  painting  will become,  that  is  to  say  uncertain,  even  unknown  but  the uncertainty and the hesitation are driving constraints to the creation, they push me to think differently to solve the pictorial problems. In this approach, I introduce a collection of images from personal photographs and a collective imaginary existing on the internet. Chosen for their echoes of  a  personal  memory  mixed  with  a  kind  of  collective  and  acquired unconsciousness, these elements are like reminders or post-it notes that  I  keep  and  continue  to observe for their  pictorial  potential.  I examine these   patterns   on   the   surface   of   the   canvas.   The accumulated layers, partially erased, covered or reworked, leave traces that densify and affect the surface of the painting. This process of accumulation relates to the memory of my experience with it.

Each of these interventions enriches my technique, that is to say the operating mechanism between the technical, intellectual practice and the lived experience. Painting then becomes a place of projection and by the lines, the drawing and the colour, I build spaces. As a landscape artist I draw a place, a garden.

Janna or paradise is the place that one seeks and for lack of finding it or knowing already that it exists only in our imaginations, that one will try to delimit and to construct.  It  thus  becomes  by  definition,  a heterotopia,  the  other  place,  the  concretized  utopia  of  a  space  in rupture  that  one  creates according  to  their  own  definition.  But  the image  is  already  a representation, a  step  further  and  it  is  only  a reflection.

The absence of figure and character, accentuates the strangeness of the scene that unfolds before the viewer. The action is in waiting, the moment in suspense. The spectator is thus the only witness and the only point of convergence of all the perspectives. From a first visual impact, he then appropriates the painting by trying to recompose the process, to understand what could occur, to apprehend what will occur.He thus continues the story.

De Gueuleto the silver cross:

The knight carries a poetic charge within him. He is the wanderer; on a quest to convey childhood dreams.  He is also in a way a vector between the Western and Eastern worlds since the Middle Ages. From the crusades, of course, of which the last one came to an end on the beach  of La  Goulette,  from  "the  elsewhere",  the  knight  brings  back above all a memory, a memory which will come to imbue and feed the western phantasmagoria on the East until today.

Here,  the  turners,  these  headless  horsemen  are  ghostly,  only  their attire seem to be real or palpable as is the rock. The landscape then becomes the support for the appearance of an icon, a memory, furtive, that of a fugitive herald.

Description  or blazon  of  the  colours  or  weapons  found  on  the costumes of  knights  according  to  the  specific  language  of  heraldry invented in Europe from the second half of the 12th century.

Artist Yann Lacroix was born in Clermont Ferrand, France and presently resides in Paris. The artist graduated with a degree from Ecole Supérieure d’Art de Clermont Métropole in Clermont-Ferrand and Faculdade de Belas Artes da Universidade do Porto in Portugal. Working predominantly in painting, Yann Lacroix constantly questions the systems involved in his chosen medium. By refusing to adopt a certain approach, each painting becomes an inquiry into the manifestation of impressions and gestures that compose a painting. The canvas becomes a surface in which discoveries are made. The layering of technique and colour result in superimposed landscapes that obliterate reality. There is a theatrical quality that emerges through the luminosity of colour and the notion of time in suspense.  

4th July, 2021 Visual Art | Paintings